Unless otherwise noted, this paper is licensed under the Creative CommonsAttribution 3.0 Unported License. To view a copy of this license, visithttp://creativecommons.org/licenses/by/3.0/ .Cheryl Foong 2009 (email@example.com) 3 of 5
Ian confesses that ‘it goes against logic to say, one person can buy the product, share itlegally, then all their friends can enjoy it’. However, he explains that it is not about money, butabout getting their ideas out there, via the internet which ‘is becoming increasingly prominent,and accessible, in our culture’. As a cooperative, KithKin relish the thought of ‘sharing theiridea with the world, and take comfort in their ability to produce hundreds of good ideas in thefuture’.
Similarly, Anthony Dickens, designer of the Playtime Clock,admits that Creative Commons is not right for every product.It has to fit in the legal contract world, where a balance mustbe met, i.e. ideas benefiting society must do so and not beheld for the sole benefit of an individual or organisation.Nevertheless, Anthony chose Creative Commons (BY-NC-SA) licensing for the Playtime Clock due to ‘the nature of theproject and how the practices of the internet can influenceproduct design’. In particular, it enabled him to get hisproduct out into a commercial domain, at the same timelegally allowing consumers to customise it.
In a practical sense, KithKin wanted SomeRightsReservedto honestly reflect how the internet currently works. Ianexplains that ‘the copyright system as we know it now isbroken, it can’t reflect the way we live our lives in a moderninterconnected and information aware society. The amountof times copyright is infringed everyday is phenomenal.Forwarding emails, photocopying books, singing happybirthday, recording TV, and downloading stuff. In somecases Creative Commons is a good alternative.’ If they hadchosen full copyright and restricted sharing, they would nothave the monetary or human resources to uphold it. Even ifable to take infringers to court, the benefit and value ofraising a law suit would have been limited.
Likewise, Stuart Bannocks, designer of the Ring Sight, foundCreative Commons to be a great way to distribute hisdesigns (compared to other forms of licensing which left himsomewhat bemused about how best to use them). Stuartobserves that ‘we now live in a time where the concept ofownership is shifting rapidly and our need for ownership overan object or entity is changing.’
KithKin product designer, Joss Debae, points out that theseOpen Content licences are growing in popularity as a newmarketing tool, with big names also spurring the trend.
‘MySpace and Flickr are tools for hobbyists, but people canget discovered and become platinum selling artists fromusing them.’ Similarly, SomeRightsReserved gives theopportunity for designers to promote their creations, insteadof letting their designs sit on ‘hard drives collecting virtualdust’.
Email interview with Anthony Dickens by Cheryl Foong from ccClinic, 19 March 2009.
Email interview with Stuart Bannocks by Cheryl Foong from ccClinic, 23 March 2009.
See for example, Nine Inch Nails’ release of Ghosts I-IV and The Slip under a Creative Commonslicence,http://theslip.nin.com/ (accessed 24 March 2009).
Email interview Joss Debae by Cheryl Foong from ccClinic, 21 March 2009.
Image: Playtime Clock by AnthonyDickens, CC BY-NC-ND 3.0Unported,http://www.kith-kin.co.uk/shop/playtime-clock/ Image: Ring Sight by Stuart Bannocks,CC BY-NC-ND 3.0 Unported,http://www.kith-kin.co.uk/shop/ring-sight/